Hélène Cixous, Laida Lertxundi, and the Fruits of the Feminine

In the fields of experimental writing and experimental filmmaking, respectively, Hélène Cixous and Laida Lertxundi gather images of fruits: apples, oranges and lemons. Although Cixous and Lertxundi are well-known for seeking something of the feminine for writing and filmmaking, in these texts and these films, fruit is not equivalent to feminine anatomy and the juiciness of neither apple, nor orange, nor lemon is mere metaphor for feminine jouissance. While Cixous and Lertxundi recognise in art, literature and philosophy an historical relation of women to nature, an essentialist equation of one to the other is loosened as the texts and the films situate apples, oranges and lemons as organic things in the world. Neither Cixous nor Lertxundi, then, eradicate the distance between human and non-human on the ground of the feminine: fruit is not entwined with women—but women do look, from time to time, at fruit. As if photosynthetically towards the sun, both Cixous and Lertxundi turn from the self towards the world, taken by the beauty and the light of fruit. In an addition to recent ecofeminist philosophy (Donna Haraway, Luce Irigaray) and also to recent feminist film-philosophy on attention (by way of Iris Murdoch, Simone Weil), I refer throughout the article to Kaja Silverman’s philosophy of ‘world spectatorship’ (2000) as I outline the way Cixous and Lertxundi each post-deconstructively combine a language of desire—feminine appetite, curiosity and pleasure—with a language of things to affirm, with women’s eyes on a simple piece of fruit, the world anew